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Critics Consensus: Almost Famous, with its great ensemble performances and story, is a well-crafted, warm-hearted movie that successfully draws you into its era.
Critic Consensus: Almost Famous, with its great ensemble performances and story, is a well-crafted, warm-hearted movie that successfully draws you into its era.
All Critics (166) | Top Critics (36) | Fresh (147) | Rotten (19) | DVD (20)
In Almost Famous, writer-director Crowe is still contending with the dueling voices in his head, and he still can't bring himself to take the harsh road. His movie gives off the warm glow of mercy.
The movie's so clever and endearing, you can forget the almost.
None of the non-musical components on the screen matched the excitement of the music.
It's a sweet-minded, picaresque story, woolly with some of its dramatic details, but stacked with attractions...
A blissfully sweet coming-of-age movie in which everyone, young and less young, comes of age.
The film shimmers with the irresistible pleasures that define Hollywood at its best -- it's polished like glass, funny, knowing and bright, and filled with characters whose lives are invariably sexier and more purposeful than our own.
Cameron Crowe's thinly fictionalized autobiography is deftly poised between rosy affection, thoughtful remembrance, and giddy adolescent awe. As perhaps it should be.
For every scene that's a sturdy piece of observed wisdom about coming of age... there's another that's pure cheese.
The film itself -- a quasi-autobiography of writer-director Cameron Crowe -- is still good, but not as good as it seemed 14 years ago.
will satisfy many music fans for its honest portrayal of the rock-band life
...funny, joyous, touching, and moving...a very personal film and a most-universal one combined.
Great, but lots of sex, drugs, and rock 'n' roll.
Majestic in storytelling and musicality, Almost Famous displays the brilliance of Cameron Crowe as well as breakthrough performances from Kate Hudson and Frances McDormand. The film's sleek humor and originality is a highlight that puts this above Crowe's achievements as well as listings for the year. 4/5
Super Reviewer
It is almost impossible not to fall in love with this wonderful autobiographical delight that has a wonderful soundtrack - oh man, isn't the soundtrack just wonderful! - and a wonderful ensemble cast that makes everything so funny, sweet, moving and tremendously charming.
One of the best films about music ever made, with standout performances from everyone in the cast, including a rocking soundtrack that brings this simple, breezy road-trip of a kid following a band on the rise up to "greatness" status. It's just a wonderful movie, and does a good job of being engaging right from the first second and it never really lets up. Kate Hudson's hypnotizing performance is the real standout as a seductive and carefree fan who, like the lead character, experiences the good and ugly things the rock and roll lifestyle brings to an individual. We need more movies like this made about music, ones that don't for a minute feel artificial, and ones that deliver memorable scenes and provide interesting characters that won't leave you quickly.
I don't think I "get" this movie. I like rock and roll as much as the next Band Aid, but very little is actually spent on the music. Russell Hammond's last interview answer about what he loves about music is somewhat of an easy trick, "To begin with...everything." This is Cameron Crowe's problem in "Elizabethtown" too, only with shoes and failure. He doesn't and can't seem to articulate what it is he loves or knows about music. Now, I know writing about music is like dancing about architecture, but because that articulation of music seems so central to William's journalistic aspirations, the movie needs to be more than just a coming-of-age road trip with surface treatment of the sexdrugsrockandroll trifecta. Kate Hudson's woodsy, backlit scene of her laughingly asking, "What kind of beer [was I sold for]?" with those smooth, limpid tears rolling down is indeed a notable performance. However, what really is the difference between Groupies and Band Aids in the end? How do they afford such an extravagant, nomadic lifestyle? What about Penny Lane does William really fall in love with that's so different from the innocent yet sophisticated beauty every other band member sees? The best part of the movie is probably Lester Bangs's brash but sympathetic caveats about fame and coolness.
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